Behringer manual ULTRAGRAPH DIGITAL DEQ1024, Priming a monitor system

ULTRAGRAPH DIGITAL DEQ1024

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3.2.1 Priming a monitor system

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Priming describes the process of detecting and suppressing

feedback frequencies. After placing and setting up your

40 to 125

Sense of power in some outstanding bass

microphones and monitor speakers (including amplifiers), you

singers.

160 to 250

Voice fundamentals.

should crank up the aux send controls on all the channels of

your mixing console needed for the monitor mix.

315 to 500

Important for voice quality.

Now, activate the feedback detection system by pressing the

Important for voice naturalness. Too much

FB INDICATOR switch

. The fader LEDs

indicate the

630 to 1k

boost in the 315 to 1 kHz range produces

intensity of the individual frequency bands. Then, use the aux

a telephone-like quality.

send master controls to increase the amplification on your mixing

Voice fricatives-accentuation of vocals.

console until you first begin to notice feedback. Possible feedback

Important

for

speech

intelligibility.

Too

much boost between

2

and 4

kHz

can

frequencies are now indicated on the fader LEDs that are lit up

mask certain speech sounds e.g. "m", "b",

most brightly.

and "v" can become indistinguishable. Too

Frequency ranges that cause feedback can now be lowered

1.25k to 4k

much boost anywhere between 1 and 4

kHz can produce "listening fatigue". Vocals

by using the respective EQ faders. Repeat this procedure to

can be highlighted by slightly boosting the

detect additional feedback frequencies. After having worked on

vocal at

3

kHz

and

at

the

same

time

all critical frequencies, when you crank up the aux send master

slightly dipping the instruments at the

control, you will be able to hear only negligible multi-frequency

same frequency.

feedback. Your monitor system has now achieved its maximum

5k to 8k

Accentuation

of

voice. The

range

from

volume.

1.25 to 8 kHz governs the clarity of voice.

Leave the other faders in the middle position as long as there

10k to 16k

Too much boost causes sibilance.

is no need to proceed with frequency correction (e.g. measuring

￿￿￿￿￿￿￿￿￿￿￿￿Tab￿￿￿. 3￿￿￿￿￿￿￿￿￿￿.1: Frequency allocation￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿(voice)

with a real-time analyzer). Now, adjust the desired stage volume,

and you will have tons of available headroom without causing

feedback problems.

3.3 Using the ULTRAGRAPH DIGITAL in the studio

Fundamentals of bass drum, tuba, double

Additional applications of your DEQ1024 are possible in the

bass and organ. These frequencies give

music

a

sense

of

power.

If

over-

studio. Your imagination has no limits. Here are only some of the

31 to 63

emphasised

they

make

the music

examples:

"muddy". The 50 or 60 Hz band is also

As equalizer for your studio monitors:

used to reject AC mains hum.

You can perform graphic equalization of your monitor sound.

Fundamentals

of

lower tympani.

Too

Besides, you can supress narrow-band room resonances. An

much boost produces excessive "boom".

analyzer, such as the one integrated into the BEHRINGER digital

80 to 125

100 or 125 Hz

are also used

for hum

equalizer ULTRACURVE PRO DEQ2496, can help you in your

rejection.

search for room resonances and a linear frequency response.

Drum and lower bass. Too much boost

For general sound processing:

160 to 250

produces excessive "boom". Also useful

The equalizer lets you process both individual and sum signals.

for 3rd harmonic mains hum rejection.

To process individual signals, you should connect the

ULTRAGRAPH DIGITAL via the channel insert on your mixing

315 to 500

Fundamentals of strings and percussion.

console. To control several signals, either use a subgroup or a

main insert. Especially in mastering studios, the sound of a

Fundamentals and harmonics of strings,

finished mix is nowadays still processed with equalizers. Often,

630 to 1k

keyboards and percussion. Boosting the

the mixes are not evened out, meaning certain frequency ranges

600 to 1 kHz range can make

are featured too prominently while others can hardly be heard.

instruments sound horn-like.

A graphic equalizer lets you even out the intensity of such

Drums, guitar, accentuation of vocals,

frequency ranges, so you end up with a homogenous sound

strings and bass. Too much boost in the

characteristics.

1.25k to 4k

1 to 2 kHz range can make instuments

sound tinny. Too much boost anywhere

3.4 Special sound effects

between 1 to 4 kHz can produce

"listening fatigue".

Be it in the studio, on the stage or in radio plays, the

Accentuation of percussion, cymbals and

ULTRAGRAPH DIGITAL can become an indispensable tone tool.

snare drum. Reduction at 5 kHz makes

You can for example change the sound of a voice so that it

5k to 8k

overall

sound

more

distant

and

transparent. Reduction of tape hiss and

sounds like it’s coming through the phone, or you can prominently

system noise. The 1.25 to 8 kHz governs

filter the sound of instruments so that they fit well into an existing

clarity and definition.

mix.

Cymbals

and

overall

brightness.

Too

The following tables represent the connection between

10k to 16k

much boost causes sibilance. Reduction

frequencies and their acoustic meaning. They should encourage

of tape hiss and system noise.

you to start using your DEQ1024 in many creative ways.

Tab. 3.2: Frequency allocation (instruments)

3. APPLICATIONS 11